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Important Notes: 

This catalog should be used in conjunction with the complete written 
explanation entitled "How to Find: Civil War Drawings by Edwin Forbes," 
available upon request. 

Drawings may be seen on microfilm which is arranged by call number. 

To formulate the call number, write "DRWG/US-A-Forbes-" and the 
entry number cited in the catalog. 

Example: DRWG/US-A-Forbes-1 (for the first entry in the 
catalog) 

Most drawings are A size. However, numbers 23, 27a, 32, 37, 39, 89, 134 
and 247b are B size, number 37a is C size, and numbers P1-P12 are D 
size. Change the call number accordingly (such as DRWG/US-B-Forbes- 
23) and search that section of the microfilm. 

All drawings in the "Life Studies of the Great War" series, listed on pages 
12-16, include an "L" before the drawing number. 

Example: DRWG-US-A-Forbes-Ll (for plate 1 listed on page 12) 






Y/ 




CA TA LOG 1 7 : 


FORBES 


Historical Art Collection 


OF 


Battles, Incidents, Characters and Marches 

of the Union Armies. 



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DISCRiPTIVE CATALOGUE 

OF 

Historilal studies and sketches of the Battles, Marches, Camps 
Incidents and Characters of the Union Armies. Commanded by 
Genl. George B. McOlellen, Genl. Irwin McDowell. Genl. X. P. 
Banks, Genl. John Pope, Genl. A. E. Burnside, Genl. Joe. E. 
HooKer, Genl. G. B. Meade, and Genl. U. S. Grant; made in 
the field (dated and described) during the years 1862-3-4, 
beginning with the occupation of Man/assas, by the Army of 
the Potomac, and ending with the siege of Petersburg. Num¬ 
bering 251. 

The original drawings of the Life Studies of the Great 
Army, from paintings and sketches executed during the years 
1865* 1866. 1867 and 1868. 

Forty copper plates (from the original etchings, num¬ 
bering from 1 to 40. 13x19 inches. Executed during the 

years 1870, i871, 1872. 1873, 1874 and 1875.) 

Set of Artist proofs of the “ Life Studies” signed. 

Rough proofs made during the execution of the work 
showing the progress of each plate in its differeut stages. 

Three extra plates, Artillery, Infantry and Cavalry, 

By EDWIN FORBES, 

Special artist with the Armies of the Union, during the 
years 1862-3-4. Centennial Award and Medal. Member 
French Etching Club. Hon. Foreign Member of the London 
Etching Club. 








Original Studies and Sketches 

From Life. 

Portfolio No. 1. 

1. Ruins of the Orange and Alexandria R. R. Bridge over Bull 

Run, near Union Mills. 

2. The plains of Manassas, looking toward the Bull Run Moun- 

tiins, from Gen. T. F. Meagher’s headquarters. 

3. General view of the fortifications of Manassas Junction, looking 

east from below the station. 

4. The defenses of Man asses on the Orange and Alex. R. R. north 

of the station, looking S. E. 

5. Headquarters of Gen. Jos. E. Johnston, during the battle of the 

1st Bull Run. 

0. Union Soldiers burning forts and breastworks at Manassas. 
Night. 

7. The defenses of Centreville,forts,breastworks, etc., from a poin 

south of the Warreuton'turnpike. Centreville and abandoned 
log hut camps in the distance. 

8. Headquarters of Gen. Smith near Manassas. 

9. The defenses of Centreville. Fort in the foreground with quaker 

guns, from south of the Warrenton turnpike looking toward 
the Bull Run Mts. 

10. Catletts Station, on the Orange and Alexandria R. R. Gen. 

Ord’s headquarters iu the distance. 

11. Ruins of the Acquia Creek and Fredricksburg R. R. bridge, over 

Potomic Creek, destroyed on the abandonment of the Poto¬ 
mac River batteries. 

12. View of the City of Fredricksburg, Va.; from the north bank of 

the Rappahannock River looking up stream toward Falmouth. 

13. Sunken vessels, in the Rappahannock River, below Fredricks¬ 

burg, with earthwork commanding the Channel. 

14. Remains of burnt steamers St. Nicholas and Virginia. Sailing 

vessels, etc., in the Rappahannock River, below Fredricks¬ 
burg, Va. 

15. Occupation of Fredricksburg. Gen. McDowell’s corps crossing 

the Rappahannock River on pontoon bridge at upper end of 
town. 

16. Fredricksburg Court house, occupied by Union troops as a signal 

station. 



17. View of the town of Falmouth, Va., looking up stream. 

18. Officers and non-commissioned officers of Collis’ Zouaves. Gen. 

Banks’ bodyguard. 

19. Camp Pardee, near Upperville, Va., Gen. Geary’s brigade, Banks 

Corps. 

20. View of Winchester, Va., from the fort on the hill N. E. of the 

town. 

21. The first battle of Winchester. The charge on the Stonewall. 

22. The town of Warrenton, Va., from the East. 

23. Grand Review of Gen. N. P. Banks’ Corps at Little Washington, 

Va. 

24. The crossing of the North Fork of the Rappahannock River, 

near Waterlob, by Gen. Banks’ Corps, while on the march 
from the Shenandoah Valley, to Warrenton. 

25. Mansennutten Mountain, near Strasburg, Va., looking S. W. 

26. Union soldiers crossing the north fork of the Rappahannock on a 

rope bridge. 

27. March of Gen. N. P. Banks’ Corps, crossing the Blue Ridge 

Mountains through Chester Gap. 

28. Prisoners captured by Union troops near Woodstock, Va., Third 

Virginia and Ashby's Cavalry. 

29. The battle of Cedar Mountain (Slaughters). Sketch taken during 

the battle,.from a point on the left of the turnpike looking 
toward the Rapidan River. 

30. Charge of the Union troops on the left flank of the army com- 

mandedjoy Gen. Jackson at Cedar Mountain. 

31. The battle of Cedar Mountain. Night at the hospitals, Arrival 

of Gen. McDowell’s Corps. 

32. Beginning of the Second Bull Run Campaign. Artillery fight at 

Rappahannock Station. 

33. Retreat of the Army of the Rappahannock (Gen. Pope) to Grove- 

ton, Manassas Junction. 

34. The battle of Gainesville. Attack on Gen. Jackson's Corps by 

King’s Division, McDowell’s Corps. 

35. The battle of Groveton on Second Bull Run, sketched from Bald- 

face hill. 

36. Retreat of the Union Army under command of Gen. Pope, t hrough 

Centreville on the morning after the battle of Second Bull Run. 


Portfolio No. 2. 

37. The battle of Antietam or Sharpsburg, sketched at half past 10 

A. m., from a point north of Antietam Creek and west of the 
turnpike. 

38. View of the camps of the Army of the Potomac, on Bolivar heights, 

near Harper’s Ferry, after the battle of Antietam. 



ft 


09. The battle of Groveton or Second Bull Run. Advance of the right 
wing of Gen. Lee’s Army, Gen. Longstreet’s Corps, on the 
Union left, Gen. McDowell. 

40. Farm-house on battlefield of Antietam, used during the battle by 
Gen. Lee’s army as a hospital, after the battle as a signal 
station by Union troops. 

^41. Gen. Burnside’s Corps crossing the Potomac River, at Berlin, near 
Harper’s Ferry, on pontoon bridge. 

42. * 

43. Study of an Infantry Soldier. The Sergeant Major. 

44. St. Patrick’s day in the army. A hurdle race. 

45. The Grand Stand. 

46. Jumping the ditch. 

47. The Steeple Chase. 

48. The Mule race. 

49. Gen. Meagher distributing the prizes. 

50. Winter Camp near Stoneman’s Switch, Falmouth, Ya. 

51. Soldier’s Mud Hut. 

52. Building a Chimney. 

53. Straggles on the march to headquarters. Under guard. 

54. An army graveyard. Winter camp. 

55. On Picket, Officers’ quarters in log house. 

56. Railroad train containing President Lincoln crossing Potomac 

Creek bridge on his way to review the Army of the Potomac. 

57. Review of the Army of the Potomac, commanded by Gen. Joe 

E. Hooker, by President Abraham Lincoln. The march past 
in review. 

58. President Lincoln attended by Gen. Hooker and Staff, refiewing 

the Cavalry of the Army of the Potomac, commanded by Gen. 
Pleasanton. 

59. The Army of the Potomac, on the march to Chancellorsville. 

Near Kelly’s Ford. 

60. The battle of Chancellorsville. The second and third corps 

crossing the Rappahannock River at United States ford, on pon¬ 
toon bridges at night. 

61. The battle of Chancellorsville. Scene at the junction of the 

United States ford road, and road to Rapidan River. Behind 
the breastworks. 

62. Prisoners and battle flags captured by Union troops going to the 

rear under guard of Cavalry. 

63. Field hospital (second corps) on the battlefield of Chancellors¬ 

ville. ' 

64. Dick. Just from Chancellorsville. 

65. Attack on Gen. Sedgwick’s Corps. Banks ford near Chancellors¬ 

ville, seen from the north bank of the Rappahannock River, 


6 


• 06. Departure of two-years men from tho Army of the Potomac. A 
•' • scene near Falmouth, Ya. 

G7. In the woods at Chancellorsville. Bivouac at night. 

68. The army balloon at rest, (Prof. Lowe’s) opposite Fredricksburg. 

69. Cavalry tight near Aldie, Ya. 

70. Charge of Cavalry of the Army of the Potomac, commanded by 

Gen. Pleasanton, supported by the First Division Fifth Corps, 
near Ashby’s Gap. 


Portfolio No. 8. 

71. Scene in Baltimore, Md. Citizens building barricades on receipt 

of the news of Gen. Lee’s march into Penn. 

72. The battle of Gettysburg. Yiew of Little Round Top and the 

Devil’s Den, held by the the Fifth Corps. 

73. The battle of Gettysburg. Yiew from the summit of Little 

Round Top. The advance of Gen. Longstreet’s Corps. 

74. The battle of Gettysburg. The gateway of the cemetery, the 

center of the Union position, First and Eleventh Corps. 

75. The battle of Gettysburg. Yiew from the junction of the 

Gettysburg turnpike, and the Taneytowu road, looking to¬ 
ward Culps Hill and the cemetery. 

76. The battle of Gettysburg. Charge of Longstreet’s Corps on the 

Union lines. First and Second Corps. 

77. The battle of Gettysburg. Behind the breastworks of the Union 

Army on the morning of July 4th, 1863. Twelfth Corps. 

78. The battle of Gettysburg. Attack of Gen. Ewell’s Corps on the 

right flank of the Union army. Culps Hill, held by the 
Twelfth Corps. 

79. The battle of Gettysburg. Attack on the Third Corps, Gen. 

Daniel E. Sickles, by Gen. Longstreet’s Corps. 

80. Signal officers watching the army of Gen. Lee near Williamsport, 

Md. Pursuit of Gen. Lee’s army. 

81. The Sixth Corps, Gen. Sedgwick, crossing the bridge at Funks- 

town, Md. Pursuit of Gen. Lee. 

82. The battle of Gettysburg. Prisoners belonging to Longstrect’s 

Corps captured by Union troops, marching to the rear under 
guard. 

83. Sketch Map of the battle of Gettysburg, made while on the march 

to Frederick, Md. 

84. Heavy Artillery going to the front. Pursuit of Gen. Lee’s army, 

after Gettysburg. 

85. Breastworks near Williamsport, Md., thrown up by Gen. Lee’s 

army, on its retreat toward the Potomac River. 

83. Charge of two companies of Michigan Cavalry, on the rear guard 
of Gen. Lee’s army, near Falling Waters, Md. 



87. The Potomac River, near Williamsport, on the morning of the. 

crossing of Gen. Lee’s army. 

88. A rainy clay. . The army on the march. 

89. Cavalry charge, near Brandy Station, Va. ^ 

90. Gen. Kilpatrick’s Raid to Richmond. 

91. Study of Infantry Soldier. 

92. Sketch of officer of Infantry. The Colonel. 

93. Reading the news. Off duty. ' .. 

94. Gamp on Little River, Va. The march to Gettysburg. 

95. Old Aliil near Sandy Hook, Md. 

9G. The Camp Kitchen, with Cook. - * 

97. Study of drummer boys on the march. 

98. The Orange and Alexandria R. R. bridge, (military) at Rappa¬ 

hannock Station, Va. 

99. Cavalry reconnoissance to Culpepper Court House, Va. 

100. Picket post on Potornac Creek, Va. . , 

101. The Cavalry Forge. 

102. The old Barn. - . 

103. The old Spring nouse. with guard. . 

104. Twelve pounder Napoleon gun. ' 

105. On Guard. Infantry. 

100. Old Mill near Warren ton, Va. 

107. Waiting for the Blacksmith. Artillery Forge. 

108. Harry, the Innocent Contraband. 

109. The First and Sixth N. Y. V. throwing pontoon bridges across 

the Rappahannock River near Beverly Ford. 

110. News from the front. 

111. Drummer Boy. Taking a rest. 

112. Shoeing a Mule. 

113. Refugees comiug into the lines. 

114. Sentry walking his beat. 

115. Scene on the U. S. ford road, (battle of Chanccllorsville) on the 

night of April 30th, ’63. 

110. Foraging outside of the army lines. 

117. Study of Mule team and wagon, with driver. 

118. Dick, the Cook. A study. 

119. Brandy Station, on the Orange and Alexandria R. R. Light 

Artillery goingto the front. 

120. Coming from the Mill. * . 

121. Warrenton Court House. Rotreat of the Army of the Rappahan¬ 

nock through the town. 

122. Baalton Station, on the Orange and Alexandria , R. R. Depot of 

supplies. 

123. The Mess Cart. A sketch, 

134. An old Warhorse, J 



8 


125. The Government Steamboat Wilson Small at Acquia Creek Land¬ 

ing. Departure of sick and wounded for home. 

126. Signal Station on the summit of Poney Mountain, near Culpepper 

Court House, Va. 

127. Signal officers watching the camps of Gen. Lee's army on the 

south side of the Rapidan River, from the Signal Station on 
Poney Mountain. 

128. The Army of the Potomac crossing the Rappahannock River on 

a pontoon bridge at night, near Rappahannock Station. 
Retreat from Culpepper Court House to Centreville. 

129. The Sutler’s tent in camp. 

130. Soldier's Hut. 

181. Slave cabin near Warrenton, Va. 

132. Gum Spring, Ya. On the march to Gettysburg. 

133. Acquia Creek landing. Depot of supplies for the Army of the 

Potomac. 

134. The battle of Rappahannock Station. The charge of th Sixth 

Corps. Supported 1-y the Fifth on the works occupied by the 
rear guard of Gen. Lee’s Army. 

135. The battle of Rappahannock Station. Scene on Sunday morning 

in front of the works. Soldiers looking at captured battle 
flags and guns. 

136. A breakdown in the wagoners' camp. 

137. A cavalry vidette. Taking it easy. 

138; The signal officer off duty. 

139. Ready for the march. • 

140. On picket in the woods. 

141. Taking his comfort. 

142. The signed station tree. 

143. Soldier's hut in winter. Borrowing a chimney. 

144. The Rappahannock River below the Alexandria and Ohio R. R* 

bridge looking down stream. 

145. Winter Camp near Culpepper Court House, Va. 

146. Mountain Run, near Culpepper Court House, looking down stream* 

147. A Yankee Volunteer plaveci out. 

148. Old grid mill on Mountain Run, near Culpepper Court House, 

Va. . . 

149. Fireplace in negro hut. 

150. The Showman in Camp. -A scene in the streets of Culpepper. 

151. Kelly’s ford on the Rappahannock River. Sketched from the 

breastworks on the south bank. 


Portfolio Ho. 5. 

152. Just from Chancellorsville. An amateur Quartermaster, 
158, Cavalry charge near Culpepper Court House, V», 



9 


154. Execution of fire deserters belonging to the Fifth Corps, near 

Beverly ford. The procession to the grave. 

155. The execution. The fatal volley. 

156. Officers and soldiers on the battlefield of the second Bull Run, 

recognizing the remains of their comrades. Sketched a year 
after the battle. 

157. Going to the commissary’s. 

158. The Army of the Potomac marching over the battlefield of 

second Bull Run in pursuit of Gen. Lee’s Army. Breaking 
camp at sunrise. 

159. Slave cabin near Long Bridge. Chicahominy River. 

160. Sketches on the line of march. Bucktails. 

161. Sketch of an officer. 

162. The Zouave. 

163. Cavalry outpost, near Potomac Creek. Daybreak on a cold 

morning. 

164. Old bridge over Mountain Run, Culpepper Court House, Va. 

165. A mule driver. 

166. A captain of Volunteers, off duty. 

167. Played out. The sleeping cook. 

168. Cavalry orderly waiting for order*. 

169. Cavalry escort, dismounted. 

170. Soldiers’ huts in winter camp. 

171. On the march. 

172. Joe, the driver of the mess wagon. 

173. Signal station on the south side of the Rappahannock River. 

Seen through a glass from the Union camps. 

174. On picket. The banks of the Rappahannock. 

175. Infantryman on guard. 

176. News from home. 

177. Study of an officer. It’s almost time for dress parade. 

178. The Commissary Sergeant’s quarters. Weighing salt horse. 

(Winter camp.) 

179. The camp barber. Taking a shave. 

180. The march from the Wilderness. 

181. Newspapers from Washington. 

182. Beverly ford on the Rappahannock River, looking up stream. 

183. Soldiers’ theater, (Fourteenth Brooklyn) in old warehouse in 

Culpepper Court House, Va. 

184. Ball of Second Corps, Washington’s Birthday, 1864. 

185. Ball of First Division, Fifth Corps, near Beverly ford, 

186. The headquarter cow, 

187. A tough customer. Army mule. 

188. Stacking hay near camp. , 

189. A played-out mule in hospital. ; 

190. My studio in winter camp, *■ . < 


10 




191% Virginians going to the commissary's for rations. 

193. Beef for the Army. On the march. 

193. On the picket line, near Freeman’s ford, Rappahannock Rirer. 

194. Picket hut. It’s time for dinner. 


Portfolio No. 6. 

195. The Veteran. 

196. A Cavalry horse. 

197. View on Mountain Run. 

198. The meditative mule. 

199. Music stand, Second Corps, Ball. 

200. Beefsteak rare. 

201. Knapp’s Pennsylvania battery in action. Cedar Mountain. 

202. Newsboys passing the pickets on the way to camp. 

203. The Army of the Potomac crossing the Rappahannock River on 

the railroad and pontoon bridge at Rappahannock station. 
Retreat from Culpepper to Centreville. 

204. The Army crossing Kettle Run. Retreat from Culpepper to Centre¬ 

ville. 

205. Winter Camp Sixteenth Michigan. 

206. The Army of the Potomac crossing Broad Run. Retreat from 

Culpepper. 

207. Infantryman on guard. 

208. Railroad train crossing Potomac Creek bridge. 

209. The Army of the Potomac crossing the Rapidan River at Ger¬ 

mania ford. First day of the Wilderness Campaign. 

210. General view of the battle of the Wilderness. Sketched from the 

hill northeast of the Wilderness tavern. 

211. General view of the battle of the Wilderness, from a point south¬ 

west of the Wilderness tavern, looking toward Mine Run. 

212. The battle of the Wilderness. Scene behind the breastworks on 

the Brock Road. Second’Corps front. 

213. The battle of the Wilderness. Infantry fightingin the woods. 

Sixth Corps. 

214. Sketches of Characters on the roadside. 

215. The Wagon Camp. 

216. Wounded Soldier leaving the field. Wilderness. 

217. The battle of Spottsylvania. View of the field from the center of 

the position. 

218. The Army of the Potomac marching from the Wilderness to 

Spottsylvania ? passing the ruins of the Chancellorsville House. 

219. The battle of Spottsylvania Court House. Scene on the right 

center. 

220. Wounded soldiers from the battlefields of the Wilderness and 

Spottsylvania crossing the Rappahannock River at Fredricks- 
burg while on their way to Acquia Creek, 



li 


221. Column on the march. On the road to the North Anna River. 

222. Field Hospital, (Fifth Corps) at Spottsylvania Court House. 

223. Interior of Negro cabin, listening to the battle. Spottsylvania. 

224. Battle of the North Anna, from the hill above Jerico Ford. 

225. The Army of the Potomac crossing the North Anna at Jerico Ford. 

226. A hot day on the battlefield. 

227. A stormy march. Artillery. 

228. The Army of the Potomac crossing the Pamumkey, ou the march 

to Cold Harbor. 

229. Old house on the battlefield of Spottsylvania. 

230. Bridge over the Matapony River. 

231. Jerico Mill, pontoons, etc. 

232. Log Cabin near Cold Harbor. 

233. The battle of Cold Harbor. (Bomb proofs.) 

234. Behind the breastworks at Cold Harbor, awaiting an attack. 

235. The battle of Cold Harbor, throwing up breastworks. 

236. The battle of Cold Harbor, charge of Rickett’s Division, Sixth 

corps. 

237. The Bucktail’s last shot, on the skirmish line, Bethesda Church. 

238. Battle of Bethesda Church. Repulse of a charge by the Pennsyl¬ 

vania Bucktails. 

239. The Army of the Potomac crossing the Chicahominy at Long 

Bridge, on pontoon bridge, while on the march to the 
James River. 

240. The Army of the Potomac on the march from the Chicahominy to 

the James River. A night scene. 

241. The Army of the Potomac crossing the James River on the pon¬ 

toon bridge. The advance on Petersburg. < 

242. View of the first line of works at Petersburg, stormed and captured 

by the Eighteenth Corps. 

243. The storming of the first line of works at Petersburg. The 

Eighteenth Corps charging the fort on the left of the 
enemy’s line. 

244. The Tired Soldier. Peterburg, Va. 

245. Off Duty. 

246. Guarding the prisoners. 

247. Officers from the Army of Virginia, captured at Petersburg. 

248. The siege of Petersburg. Interior of the fort on the left of the 

line of works defending Petersburg. Stormed and captured 
by the Eighteenth corps. 

249. Study in oil. Mounted orderly. 

250. Study in oil. Infantryman on guard. 

251. Study in oil. On Picket. 


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Portfolios. No. 8^and 6. 

The original drawings of the Life Studies of the great army in black 
and white, from paintings, etchings and compositions. Executed 
during the years 1865, 1866, 1867, 1868. Preparatory designs for 
the work on copper plate, (etching). Numbered from 1 to 40, in 
portfolios. 

Artist proofs, signed, of the .Life Studies of the great army. A his¬ 
torical work of art in copper plate etching. Framed, with three extra 
plate proofs. 

The Art of Copper Plate Etching . 

Etching, a species of engraving, in which the design is formed on the 
plate by a ipointed tool and the action of an [acid, or some other fluid, in¬ 
stead of beng cut out by the grs' er. The two countries in which E. has 
been most practised are Holland and France. It has also been successfully 
practised in Italy, Germany, and England, but not to so great an extent 
It has resembled line-engraving in receiving a powerful impulse from cele¬ 
brated painters ; but whereas, with the exception of Albert Durer, the 
painters have seldom been practical line-engravers, they have advancd. 
E. not only by advice given to others, but by the work of their own hands. 
Rembrandt and Claude were practical and very skilful workmen in E,. 
and their works had on this art an influence which still continues. Ostade, 
Ruysdael, Berghem, Paul Potter, Karl Dujardin, etched as they painted, 
and so did a greater than any of them, Vandyke. In the earlier part of 
the present century E. was almost a defunct art, except as it was employed 
by engravers as a help to get faster through their work, of which “ engrav¬ 
ing” got all the credit, the public being unable to distinguish between 
etched lines and lines cut with the graver. During the last fifteen or 
twenty years, however, there has been a great revival, which has extended 
all over Europe and the United States, though France has had by far the 
largest and most important share in it. It was hoped, at the beginning of 
this revival, that it would lead to the production of many fine original 
works ; but the commercial law of demand and supply has unfortunately 
made modern E. almost entirely the slave of painting. Nearly all the 
clever etchers are occupied in translating pictures, which many of them 
do with remarkable ability, even to the very touch and texture of the 
painter. The comparative rapidity of the process, and the ease with which 
it imitates the manner of painters, have caused E. to be now very generally 
preferred by publishers for the translation of all pictures except those be¬ 
longing to a severe and classical style of art, for which the graver is, and 
will always remain, better adapted than the E -needle. Yet, notwith¬ 
standing the present commercial predominance of E. from pictures, there 
are still in Europe, and we have at the present day in Boston, New York, 
and Philadelphia, some artists and eminent amateurs who cultivate original 
E. with success, and produce works of various interest and power. 

Plate 1. The Reveille on the Line of Battle. Representing the line 
of battle at daylight. The regimental bugler stands on the crest of 
the hill playing the reveille to arouse the troops, who are lying on the 


13 


ground wrapped in their blankets. In the middle distance a battery is 
seen in position with “caissons’' and “limbers” to the rear. Tattoo 
in Camp. A moonlight scene. The regimental drum-corps is beating 
“tattoo, 1 the signal for the men to retire to their tents. “Taps,” 
the signal for “lights out,” follows half an hour later. 

Plate 2. The Commissary’s Quarters in Winter Camp. The Com¬ 
missary Sergeant is seen in the foreground weighing out rations of meat 
for the company cook. The structure on the left is an improvised 
stable built of pineboughs. 

Plate 3. Through the Wilderness. A battery of artillery dragged 
through the mud during a spring rain-storm. 

Plate 4. A Wagoner’s Shanty. Winter Camp. The Deserted Picket - 
hut. Winter Camp. Mud Huts. Winter Camp. 

Plate 5. The Pontoon Bridges. The army crossing a river and 
closing up in column on the hill, while the advance is pushiug into the 
woods, which have caught lire from exploded cartridges. 

Plate 6. A Thirsty Crowd at the Old Spring House. A scene on the 
line of march during a hot day. A Race for Camp. Newsboys passing 
the picket station while on the road to camp with the latest news. 

Plate 7. The Leader of the Herd. Cattle for army use led by a 
Zouave butcher. Across the road, under the pine trees, can be seen 
the graves of two Union soldiers, who have been killed in a roadside 
skirmish. 

Plate 8. A Rainy Day on Picket. ^ An infantry-man sheltered behind 
a pine-tree, with his rifle under his arm to protect it from the rain. 
Washing Day. A soldier with his latest wash hung out to dry on the 
barrel of his rifle. In the distance the column is seen on the march. 

Plate 9. A Christmas Dinner. A scene on the outer picket line. A 
soldier off duty is cooking his frugal meal in front of an improvised 
shelter made of pine-bonghs and fence-rails. 

Plate 10. A Slave Cabin. The Old Grist Mill. “ Got any pies for 
sale, Aunty ? ” A party straggling from the line of march in search of 
the luxuries of the season, 

Plate 11. The Newspaper Correspondent. Riding to send off his 
dispatches with news of a battle, adead of rival correspondents. 

Plate 12. Coffee Coolers. A party of stragglers from the column 
which is seen marching over the hill in the distance. These are the 
men who always shirked a battle, and were to be found with their 
regiments only when rations were to be served out, at a safe distance 
from the enemy. 

Plate 13. Officers’ Winter Quarters. Waiting for dinner after dress 
parade. In the doorway the sergeant of the guard is seen reporting to 

the officer of the day. 

Plate 14. A Scene on the Roadside near Summer Camp. Two caval¬ 
rymen, who have just returned from a scout, are having their horses 
shod. 


14 


Plate 15. Returning from Outpost Duty. A scene in winter camp. 
A squad of troops have just returned from the picket line and are seek¬ 
ing their quarters. 

Plate 16. A Night March. The army going into action through the 
pine woods. In the foreground a tree has been fired to give light for 
the march, and over the distant woods dense volumes of smoke are 
rolling up, the underbrush having caught fire from burning cartridges. 

Plate 17. A Halt in Line of Battle. The line having advanced and 
driven the enemy, whose dead are lying in front, is “ dressing up,” 
while a reinforcing column can be seen coming over the hill in the 
distance. Shells from the enemy’s batteries are bursting in the air. 

Plate 18. The Rear of the Column. Stragglers and wagon guards are 
bringing up the rear, while the wagon train is seen coming down the 
distant hill, with flankers thrown out to protect it from the enemy’s 
horsemen. 

Plate 19. Stuck iu the Mud. A pontoon wagon with boat fast in a 
slough. A regiment of infantry is pulling on a rope attached to the 
head of the team, trying to drag them to firmer ground. A Flank 
March Across Country during a Thunder Shower. 

Plate 20. Fall in for Soup—Company Mess. A scene in winter 
camp, giving a general idea of the style of huts built and occupied by 
the troops. A wagon train is coming down the road from the distant 
camp on its way to the depot for forage. 

Plate 21. Going into Camp at Night. The fields on all sides are 
covered with troops who are engaged in cooking supper, the column 
in the road marching on and disappearing over the hill in the distance. 

Plate 22. On Picket at the River Bank. An Old Saw Mill. Wait¬ 
ing for Something to Turn Up. A scene behind the breastworks dur¬ 
ing a lull in the battle. The troops defending this position of tbeline 
are sleeping under their shelter-tents or lounging under the shade of 
the trees and house. In a tree, beyond the house, a lookout is posted 
to give warning of the advance of the enemy. 

Plate 23. The “ Reliable Contraband.” A scene at the cavalry out¬ 
post. In the foreground a negro, “leading an old horse,” is seen 
hesitatingly imparting to anxious officers what little information he 
possesses of the enemy’s movements. Cavalry men and their horses 
are grouped about the house in the middle ground, and in the distance 
a vidette is sitting on his horse watching the road through the woods, 
in anticipation of the approach of the enemy. 

Plate 24. Home, Sweet Home. A scene in winter camp. Two 
soldiers sitting in front of their quarters, which are built with logs 
plastered with clay, and covered with canvas. The soldier sitting on 
the drum is playing the old tune on an improvised fiddle made from a 
cigar box, while the younger sits leaning against the mud chimney, 
which is crowned with a ploughshare to keep the smoke from blowing 
into the tent. 


15 


Plate 25. A Distant Battle. Seen at distance of about six miles. 
In the foreground is an abandoned breastwork ; and on the road to 
the left a column of troops is seen hurrying toward the sound of dis¬ 
tant cannon. 

Plate 26. A Cavalry Charge . An advance against the enemy’s guns, 
which were posted on the hill. The enemy’s line has met the charge, 
and is trying to save the guns, which are hurrying to the rear. 

Plate 27. A Hot Day, Soldiers grouped about a gun in position, and 
sleeping under a shelter. Beef Steak Rare. A Straggler. Always 
sick when a fight is expected. A Quiet Nibble on the Cavalry Skirm¬ 
ish Lines. A Cavalry Orderly Waiting Orders. 

Plate 28. Newspapers in Camp. The newsman is sitting on horse 
back, surrounded by men who are buying and reading the latest. 
“ news from the front,” as it comes from the rear. 

Plate 29. A Watched Pot never Boils. The Captain’s Cook. A 
Hearty Supper on the Battlefield. Drummer Boys. Halted on the 
road. Played Out. Two footsore and used-up soldiers have dropped 
out of the column and fallen asleep at the foot of a tree, while the 
rear of the detatchment is seen disappearing up the road. 

Plate 30. Coming into the Lines. A party of slaves have taken 
massa’s old schooner (wagon) and, with a “ spike” team, have started 
for the Union lines. They are passing the picket post. On the dis¬ 
tant hill some laggards appear in sight, one waving his hat for joy as 
he catches sight of “Massa Linkum's sodgers.” 

Plate 31. The Supply Train. “Hard tack and salt horse” for 
the army. 

Plate 32. “Gone off with the Yanks.” A deserted negro cabin. 
A Land Flowing with Milk and Honey. A Scouting Party. An Old 
Campaigner. A darkey cook with the mess mule. 

Plate 33. The Outer Picket Line, Winter. A general view over¬ 
looking the enemy’s country. 

Plate 34. A Lull in the Fight. A scene behind the breastworks. 
Officers and m°n are grouped about the guns, while some of the latter 
are playing cards, cooking, and amusing themselves generally. In 
the centre of the picture a squad of prisoners is seen coming in from 
the front under guard. 

Plate 35. Traffic between the Lines. Pickets trading for coffee and 
tobacco between the fortified lines during a truce. The enemy’s works 
(protected by abattis and cheveaux-de-frise) are seen in the back¬ 
ground, with groups of soldiers on the parapet. 

Plate 36. Going into Action. A battery of artillery, under the 
enemy’s fire, dashing up the hill and taking position. 

Plate 37. An Advance of the Cavalry Skirmish Line. Clearing the 
way while the main body is moving forward in support. 

Plate 38. Fording a River. Infantry are wading' the stream at the 
ford, with a line of cavalry posted below to catch any unlucky soldier 


10 


who may be carried away by the force of the current. Twenty Minutes 
Halt. A column of troops, while on the march, have been halted for 
rest, and are lying about under the trees and in the road. 

Plate 39. “ Bummers.” “They’re ‘Johnnies,’ boys, as sure as 
you’re born.” A group of bummers on horse and muleback, huddled 
in the road, anxiously watching a body of men who have just appeared 
at a turn in the road. 

Plate 40. The Sanctuary. A negro family has just come in sight of 
the fortified lines of the Union army. The old mother has thrown her¬ 
self on her knees, praising the Lord, while the rest of the family are 
grouped behind, contemplating the scene in silent wonder. 


COPY OF CENTENNIAL AWARD. 

The undersigned having examined the product herein described “Life 
Studies of the Great Army,” respectfully recommend the same to the 
United States Centennial Commission for award, for the following reasons, 
viz : For excellent Studies from Nature and Life, Firmness in 
Tone, and Spirited Execution. 

C. \V. COPE, ( Sig . of Judge.) 
Approval of Group Judges, 

F. Hill Smith, H. D. Kruseman Von Elten, Peter Graham, 
C. SCHLESINGER, P. N. AEBO, JOHN F. WEIR, 

J. E. Saintin, Carl Costenoble, J.Von Dardel. 

A true copy of the record, Francis A. Walker, 

Chief of Bureau of A wards . 

Given by authority of the United States Centennial Commission, 

A. T. Goshorn, Director Gen’l. J. R. Hawley, Pres. 


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Letter from President Grant. 

Executive Mansion, Washington, July 28,1876. 

The President directs me to acknowledge the receipt of an India-proof 
set of engravings entitled “ Life Studies of the Great Army,” which you so 
kindly forwarded to him, and to convey to you his sincere thanks. He 
wishes me to assure you of His appreciation of this valuable work of art, 
and of the kind sentiments expressed in your note presenting it. 

Very respectfully yours, U. S. GRANT, 

To Mr. Edwin Forbes, Artist. ' ' Per Secretary. 


General Sherman’s letter. 

Headquarters Army of the United States, Washington, D.C., 

July 24, 1875. 

EDW r iN Forbes, Artist. 

My Dear Sir : I beg to acknowledge receipt of the Portfolio containing- 
your series of copper-plate etchings, entitled “ Life Sketches of the Great 
Army,” and to thank you for the favor. I considered tin in most valuable ; 
so much so, that I had already instructed my A.D.C., Colonel Audenried, 
to purchase the first set of proofs now on exhibition at the Centennial in 
Philadelphia, which set 1 design for the decoration of my new office in the » 
w r ar department, -when finished. I am sure that these pictures will recall 
to the survivors the memory of many scenes which at e fading in the past. 
Truly your friend, W. T. SHERMAN, General. 


Letter from Gen’I Slierfdan. 

Headquarters Military Diy. of the Missouri, Chicago, Sept. 

26, 1878. 

Messrs. Estes & Lauiuat : I have at my headquarters here, all of tlie 
“ Life Sketches of the Great Armv,” bv Mr. Forbes. Thev are framed and 
liung up around the rooms, forming a capital reminder of the days when 
we were on the field against the enemies of the republic. I take great 
pleasure in testifying to their artistic excellence mid accuracy. 

Very truly yours, P. H. SHERIDAN, Lieut. Gen’I . 


From Horace Kinney Sargent. 

Boston, January, 19, 1877. 

The Army Sketches, by Mr. Edwin Forbes, are very life like and inter¬ 
esting. They vividly and in a most spirited mannei recall the old scenes. 
For the halls of Grand Army Posts, I can conceive of no more delightful 
decoration. 

HORACE BIKNEY SARGENT, Commander of the Department of 
Mass. 


The Union League Clnh. 

New York, April 24, 1876. 

Mr. Edwin Forbes. Dear Sir : On behalf of the Art Committee of 
the Union League Club, I beg to acknowledge tlie receipt of your commui- 
cation, with a set of copper-plate etchings, entitled "Life Studies of the 
Great Army.” 




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In reply, would respectfully state, that after a careful examination of 
said etchings, we cheerfully accord to you the use of our Gallery for the 
purpose of exhibiting the same to our Club, members and their friends, 
feeling assured they will afford great pleasure and satisfaction to all who 
view them, and are ignorant of the fact, as were our committee, that one of 
our native artists had, after many long and patient years of careful toil, 
collected toother an l preserved so m iti.v actual life-scenes of the late 
war, and which are so admirably and faithfully portrayed by you. 

I take this occasion to congratulate you upon your decided and de¬ 
served success. 

Very respectfully yours, RICHARD BUTLER, Chairman. 


From Edward E. Hale. 

South Cong’l. Church, Boston, December 29, 1876. 

I have examined with great pleasure Mr, Forbes’ spirited etchings, 
which he calls “ Life Studies of the Great Army.” They have remarkable 
interest, both as works of art and as a memorial of the experience of 
thousands of our friends, which we cannot afford to forget. 

EDWARD E. HALE, Minister of South Cong'l Church . 


From C. W. Cope It. A. 

London, 19 Hyde Park Gate, So. Kensington, Aug. 25, 1876. 

My Dear Sir: Owing to absence from home in Scotland, I was not able 
to acknowledge the arrival of your admirable folio of etchings of the 
“ Great Army,” but I write at once to say how glad I am to receive them, 
and what pleasure l shall have in showing them to art friends. I am de¬ 
lighted to hear of the promising success of your great work, which indeed 
I never doubted. It appeals to the spirit of patriotism, so strong in 
America, as well as to lovors of art. 

With sincere good wishes, believe me 

Verv faithfully yours, 

Edwin Forbes, Esq. C. W. COPE, R, A, 


From Ilie Boston Advertiser I>ee. 16, 1876. 

Aside from the fact that these illustrations have a peculiar value as 
studies made on the spot, they have additional worth as the first notable 
example of etchings as yet produced in this country. Mr. Whistler holds 
the highest rank as an etcher, but his subjects are confined almost entirely 
to sights and scenes in London and vicinity ; he can, therefore, make no claim 
to be considered an American etcher, since his motives, inspirations and 
methods, are purely English. Mr Forbes, on the other hand, in his con¬ 
ceptions and choice of subjects is decidedly national, and his methods are 
quite as American as it is possible to find in any branch of art practised 
here. 

It is only necessary to commend the etchings as combining in an ex¬ 
ceptional manner realistic representation of scenes peculiarly American 
and historical as well, and to declare them worthy a place in an v collection! 
Mr. Forbes has proved himself of an artist of special talent, and his etchings 
rank him among the first in his profession. 


From tlic Boston Transcript, I>ec/20, 1876. 

We have no hesitation in pronouncing the collection a work creditable 
in the highest degree to American art, and a worthy commemoration to the 






11) 


great episode in American life which it so vividly illustrates. For the ar¬ 
tist has conceived his work on a high and dignified scale. Nothing nar¬ 
rower that lif itself in that strange experience which is so incredibly 
short a time inured tur un warlike youth and manhood of America to arms 
—nothing narrower than the “ Great Army,” which sprang into being, like 
Jove full-grown and armed from the liigh-souled intelligence of the Ameri¬ 
can citizen, it has been the aim of the artist to perpetuate. As etchings, 
simply, the collection will be sought for by amateurs of art, and not a few 
of the pictures will find a worthy place framed and hung beside the best 
examples of modern art. 


From the Christian Union, Jan. 12, 1870. 

There is in preparation by Mr. Edwin Forbes—a member of the French 
Etching Society—a series of etchings the like of which has, so far as we 
know, never before been attempted ; certainly no such series has ever 
been completed with a degree of skill sufficient to command the general 
attention of artists and connoisseurs. For subjects, lie lias taken the rank and 
file of the United States army during the war of the Rebellion. It is the 
arinv as it was throughout the middle belt of states and down through 
Georgia, during these four eventful years which are slipping backward so 
rapidly in the calender, that before we know it, veterans who fought at 
the Wilderness, or fo’lowed Sherman to the sea, will be almost as scarce 
as those of 1812 are to-day. 

And these are no fancy sketches. As “ field artist,” Mr. Forbes fol¬ 
lowed the fortunes of the Union armies during their hardest and most 
important campaigns, and filled his sketch book with memoranda and finish¬ 
ed drawings which now afford him an inexhaustible mine from which to 
make up a truthful record of the private soldier as he lived in camp or 
trench, in the bivouac or on the march, on foot or on horseback, in rain, 
sun, summer or winter. 

- - t 

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Katlian Appleton, in tlie Boston Globe, Oct. 4, 1876. 

It would take too long to go through the sketches in’ detail,'and so I 
will only select a few which seems to me to be the most suggestive. They 
embrace nearly all the branches of the service—artillery, cavalry, infantry, 
the engineers, the supply trains, the newspaper reporters, the stragglers, 
and even the herd of cattle who furnished us with such delicious but 
none tlie less tough beef. Nor is the negro omitted—the poor, black oon- 
traband, the innocent cause of it all. The gem of the collection, to me, is 
“ anight march.” It needs no description—it must be seen ; and, as I 
look at it, and let my memory play, it takes me back to more than one 
scene like it. In pleasing contrast to this is that bright snow r scene, 

“ returning from picket duty,” so cold does the air look, and so determined 
and contented the returning squad, that you hope they will be rewarded 
for their hours on the picket-line by a good ration of commissary whiskey 
as soon as they get back to quarters. In “ the reveille ” you can almost 
hear the clear notes of the bugle in the chill morning air. “ The advance 
of the cavalry skirmish-line,” and “ going into action,” give an idea how 
things began, of how the boll was generally opened ; while “ the lull in 
the fight” and “ the halt of the line of the battle,” give such a picture of 
tlie necessities of a recess for both sides, and tlie havoc committed which 
demanded temporary respites at least,—for there was no long one until it 
was all over, I mean the w'ar,—that it can be judged tka* life in the army 
was not altogether the picnic excursion that many at first thought it was 
goine- to be.^ “ After dress-parade ” is a pleasant interior scene of duty 
overhand thegenial companionship of brother officers and this Mr. Forbes 
told me was actually taken from one of our Massacliasetts regiments. 




A cavalry charge ” is the exi-mplifkat.cn of movement aiul physical 
con rage ; while “ a lialt for twenly minutes ” lias so weary and used-up a 
look, that you would suppose that nothing could arouse the slumberers. 
*• Going into camp at .night,” and “the distant battle, ” are wonderful 
artistic productions ; as is also “ through the Wilderness,, a piece trf 
artillery struggling along as best it can. r l he scene of “ fording a river, 
and the other of “ the pontoen 1 ridgas.” are both worthy of note ; as abo 
“ the advance of the cavalry picket-line,” and many others, among them 
those which give an idea of a drenching A irgiilia rain-storm. But 1 cannot 
name them all, and so, before ending, will merely m< ntion some of those 
in which ^he negro is brought in asa “ reliable contraband,' “coining into 
the lines,” and then, last of all, “ the sanctuary.” That scene embodies 
the pathos of the part the colered race played in the drama 1 here they 
are; the old woman with arms outstretched, thanking God in her wild, 
fervent manner, that the day of freedom has come, that the .soldiers of 
Lincoln are at hand, and the dear old flag in sight. Ey her side are the 
aged negro man, husband or father, the pickaninny and the cl g—all in a 
rapt hut mute state of gratitude. 


From Ilie Army and Navy Journal, April 23, ’to. 

On Wednesday, March 80, vve were favored with a private view, fit the 
Army and Navy Club, New York city, of what, taken all in all, is the most 
complete and realistic set of war pictures that has ever been issued in < v.e 
series in any country, as far as we are aware. They were executed by Mr. 
Edwin Forbes, from actual studies made from 1861 to tlie close ol 1864, in 
Virginia and elsewhere, and present the most perfect idea of tlie army of 
the American Rebellion that has yet been given to the public. 


From 111© Now Fork Herald, May 3, ’<6. 

An exliibttion is opened at the Art Gallery of the Union League Club 
of a series of etchings by Edwin Forbes, representing incidents of camp 
life during the late civil war. Mr. Forbes is the first American artist w ho 
has given any attention to this biancli of art, which has of late years be¬ 
come more popular than it has been since the days of Rem brant and other 
old masters whose etchings have never been excelled. The subjects of 
these works have an appeau nce of nature, which is so seldom seen except 
in the sketches of artists, and Air. Forbes’experience as an army artist 
correspondent fur one of the New York illustrated papers gave him un¬ 
usual opportunities for obtaining material for the work which he has 
undertaken. 


better from Mr. Thos. Oldham Barlow. 

Hon. Sec. London Etching Cixb. 

London, Feb. 16. 18T6, Aibfrn Lodge, ( 

38 Victoria Road. Kensingtn, W. f 
To Edwin Forbes, Esq. Hear Sir : I am directed by the members of 
the Etching club, to acknowledge the receipt of the portfolio of Etchings, 
“ Life studies of the Great Army, which yon so kindly forwarded to the 
society.” The etchings were very much admired by tlie members, and I 
am instructed to convey to you their best thanks. I have tlie pleasure to 
communicate to you that Air. Redgrave, R. A.; proposed you as a Foreign 
Honorary Member of the London Etching Club. Air. Alillias, R. A., 
seconded the proposition and you were unanimously elected. The next 
W'ork the club publishes,! shall have the pleasure to forward a copy for 
your kind acceptance. 

I am, dear sir, vours verv faithfully, 

THOS. OLDHAM HARLOW, A. R. A. 

Hon. Secretary. 








































































































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